
Kate Gosselin looks unrecognizable from her reality star self as she drinks BOOZE with her kids
The 50-year-old media personality - whose estranged son Colin recently revealed a new career venture - took to Instagram to share rare snaps of the kids.
Kate — who found fame with her ex-husband Jon Gosselin, 48, and their 8 kids on TLC's Jon & Kate Plus 8, which aired from 2007 until 2017 — looked much different from their reality series days as she smiled while toasting with the kids.
Her blonde hair was long as it cascaded down her back which is much different from the 'tellum' style haircut she made famous which resembles a bob hairstyle in the front and is cropped short in the back.
Another notable thing from the snaps was that only four of her kids - Alexis, Aaden, Leah and Joel - could be seen in the gallery of images.
Kate is estranged from two of the sextuplets: Hannah and Collin.
Though the mother of eight looks world away from her reality star self, it has been said that she is seeking new TV opportunities amid financial difficulties according to reports from October 2024.
The reality star is 'hurting for money' according to In Touch.
'She's hurting for money and facing the very real possibility of having to sell her house in North Carolina,' a source told the publication of Kate, who was recently accused of being an abusive mom by her son Collin Gosselin, 20.
'She doesn't date or socialize with friends. Even her nursing job that paid her a fraction of what she made on Kate Plus 8 didn't pan out.'
'She's still trying to get a new reality show, but doors aren't opening for her, especially now that she's been painted a lunatic mom who zip-tied and locked her son in the basement room,' the source added.
'No one would be surprised if she started begging for handouts.'
The insider added, 'The feeling is if she were a nicer person, nice things would come her way, but she's not and karma's kicking her in the butt.'
In November of 2023 an insider told The Sun Kate 'hasn't had a job other than reality TV for 17 years' and that she is 'doing what she can to get money'.
Kate — who found fame with her ex-husband Jon Gosselin , 48, and their 8 kids on TLC's Jon & Kate Plus 8, which aired from 2007 until 2017 — looked much different from their reality series days
Last month her son Collin leveled shock abuse claims at his estranged mother.
Collin, who previously alleged his estranged mom sent him away at age 12 to stop him revealing her 'abuse', says his mother 'zip tied his arms and legs' and 'locked him in a basement' when he was a child during a campaign of alleged physical and emotional abuse.
He said from the age of 'eight or nine' he was treated differently from his seven other siblings by Kate and added that he 'never had a childhood' in an interview with The Sun.
Collin claims he was locked in a 'specially built basement room' which had a bed and cameras 'multiple times' - which watched him for an entire day or part of a day.
He said: 'She had a room put up with cameras in it, a tiny window in the corner and it was bolt-locked from the outside.'
'My mother would put me in that room multiple times, she had zip-tied my hands and feet together and bolt locked the door, turned the lights off and had cameras there just watching me.'
'So most of the day I was in that room and I was away from my siblings and I never really went outside. I never played with them. I was kept there. It was literally containment.'
He claimed Kate was 'physically aggressive, verbally, very abusive with the things she would say' and he had to 'constantly take the fall for her emotions.'
Medical records submitted during Jon and Kate's custody battle revealed Collin had reported his mother's alleged abuse to his counsellor at the time.
'She's hurting for money and facing the very real possibility of having to sell her house in North Carolina,' a source told In Touch; seen in 2019
'She's still trying to get a new reality show, but doors aren't opening for her, especially now that she's been painted a lunatic mom who zip-tied and locked her son in the basement room,' the source added; the insider added
He revealed a letter written in crayon to dad Jon, begging his dad to 'save him' and let him live with him.
Collin also shared his private medical records with the publication to prove he does not have mental illnesses or behavioral conditions
Jon - who later gained custody of daughter Hannah and Collin - said he had 'never found out' about Kate's alleged abuse until way afterwards - saying 'That kind of thing didn't happen until after I left.'
He said Hannah had told him about the alleged abuse once he got custody of her.
One sibling has supported Collin's claims.
Collin claims when he started telling teachers about the alleged abuse - having shown up to class with a bruised and swollen ear - he was removed from school in the fourth grade.
He also claimed he had told the camera crew filming their show but that Kate 'did a good job of hiding those things.'
Jon shared letters he was sent from the Department of Human Services' Office of Children, Youth, and Families in Pennsylvania that notified him of abuse reports against Collin - but stated they were 'unfounded.'
Jon claims there was 'nine separate instances' where abuse against Collin was reported.
Kate's lawyer Richard Puleo said: 'If Kate did the things that Collin is accusing Kate of, she would have been investigated by the authorities and prosecuted.'
Collin was home-schooled from fourth grade and diagnosed with mental health issues - medical records seen by the publication state he was diagnosed with unspecified bipolar disorder and related disorders, autism spectrum disorder, attention deficit hyperactivity disorder, obsessive compulsive disorder, oppositional defiant disorder, and PTSD before being taken to a mental health facility in 2016.
Collin claims he was wrongly diagnosed and cites his medical records from a mental health evaluation taken last year which shows he has none of the conditions and no issues an adult.
Collins claims multiple medications left him 'feeling like a zombie' and that Kate put him in the facility for 22 months 'in a desperate attempt to protect herself' adding: 'My mom always told me nobody would believe me.'
He finally entered Jon's custody in January 2018 - and detailed struggling to 'reintegrate' into society with kids his own age.
He graduated high school and intended to join the Marines - but was 'discharged' in August last year - allegedly due to Kate sending him to the behavioral institution.
He now plans to attend college at Penn State.
Puleo said he did not believe Kate has done anything to 'intentionally harm Collin and added 'she did what she did to protect herself and her family' from alleged 'troubled behavior' from Collin.
In July 2023 Kate took aim at Collin, branding him 'violent and unpredictable' and claiming that he 'fabricated' allegations of abuse against her.
Kate and Jon — who split in 2009 — share twins Madelyn and Cara, 23, and sextuplets Alexis, Hannah, Aaden, Collin, Leah and Joel, 20.
Jon & Kate Plus 8 aired for five seasons on TLC spanning 2007-2017, once amassing 9.8M viewers with the fifth season premiere.
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The Guardian
26 minutes ago
- The Guardian
‘Everybody's starved of affection': Past Lives director Celine Song on the brutal dating scene and her realistic new romcom
'Our financial literacy is so fucked,' says Celine Song. We're having breakfast in Manhattan on a sunny Saturday in early July, a few weeks after her new film, Materialists, has opened in New York City. She's wearing a charmingly ironic outfit: a T-shirt that says 'HOWDY' and a baseball cap that says 'Big' (she's petite, 5ft 4in, for the record) – but she speaks with almost disarming earnestness. She's frustrated, she tells me, that people have described one of the characters in her film, a private equity manager with a $12m apartment, as a 'billionaire'. 'If you're a billionaire, your big apartment is not $12m!' she exclaims. 'The average income of an American adult is $35,000. What that means is half of America makes less than $35,000. Three times that is $100,000. Ten of that is $1m. And a billion dollars is not a hundred of that. No, it's a thousand of that.' She's offended because a billionaire would never be a likable character in her movie. 'I think because of how visible billionaires are, we think that's what wealth is. And I'm like: no, that's just crime.' It's a bit unusual to be talking about financial literacy in the context of a romcom, the genre that Materialists defiantly embraces with its story of a high-end matchmaker (Dakota Johnson) torn between an old flame with no money (Chris Evans) and a suave, moneyed suitor, the 'not-billionaire' in question (Pedro Pascal). Romantic comedies, particularly those set in New York City, tend to be escapist fantasies: you're not supposed to wonder how the heroine can afford to live in a swanky one-bedroom in Manhattan or wear Louboutins; you're certainly not supposed to ponder the moral implications of the hero's wealth. But in Materialists, every detail is spelled out. Early in the film, Lucy (Johnson) announces to Harry (Pascal) that she makes '$80,000 a year before taxes' – something the private equity partner should keep in mind before pursuing her. The characters' apartments, Song says, were carefully researched and designed based on their economic situations. There's Harry's $12m penthouse in the expensive Manhattan neighbourhood Tribeca. Lucy lives in an aspirational studio in the posh neighbourhood of Brooklyn Heights that she rented right before the Covid-19 pandemic (Song looked on US real estate website Zillow to estimate the rent); Evans's character John lives with three roommates in south-west Brooklyn's Sunset Park. (It was supposed to be in Williamsburg, before the film's construction crew said that he'd never be able to afford that.) It's not that Song is a mercenary realist. The only subject that makes her eyes light up as much as money is love, which she describes as 'being hit by lightning'. Song's first feature film, Past Lives, which nabbed two Oscar nominations in 2024, spins a beautiful time-crossing and bicultural saga around a happily married Korean immigrant in the US – a stand-in for Song – who re-encounters a childhood sweetheart and confronts the life that could have been. The characters talk about inyeon, a Buddhist belief in relationships as something fated and cosmic, cutting across life cycles. There's no such wistful dreaming in Materialists. Harry's romantic overture to Lucy is to tell her that he's interested in her 'intangible assets'; he wants to date the broker, the person who decides who is and isn't valuable. 'I feel like as we grow into this efficiency-focused, productivity-focused way of thinking about the world, everything we do is so that we can be better, faster, stronger,' Song says of our culture of relentless optimisation. 'Where is the place where you're just like an animal who's trying to live?' Song, 36, was born in Seoul to artist parents. She says her father, a film-maker, named her after the impish stage magician played by Juliet Berto in Jacques Rivette's French new wave classic Céline and Julie Go Boating. When Song was 12, the family emigrated to Ontario, Canada, where she lived throughout her college years, before moving to New York to pursue a master of fine arts degree in playwriting at Columbia University. By the time she started making movies, she had achieved considerable success in theatre for deeply personal, yet daringly experimental plays, including 2019's Endlings, which weaves together the stories of three female Korean divers and a Korean-Canadian writer in New York, and a live production of The Seagull on the Sims 4, staged during lockdown in 2020. Song never really suffered the indignities of modern dating. As portrayed in Past Lives, she met her husband, the screenwriter Justin Kuritzkes – who recently wrote Luca Guadagnino's tennis film Challengers – at a writing residency in Montauk in Long Island when she was 24. But in her early years in New York, she got a pretty acrid taste of dating culture when she worked as a matchmaker for six months, after hearing about the gig from a friend in the industry. It seemed like an 'HR job' with a more 'involved client-facing element' – and Song had studied psychology in her undergraduate years. But she knew she couldn't make lightning strike for her clients, and they knew it, too. 'I was basically given instructions on who to say no to,' she says of the job. 'They were saying: 'I'm not even available to get hit by lightning by certain people who don't meet my criteria.'' The worst of them, sampled in the film, were brazen with their bigotry. 'People would rank what races they wanted. They would literally say: 'No Asians'. They wouldn't admit that even to their therapist.' She had wanted to make a film about the experience for years, but the script had never quite worked. Then she realised why. 'I thought the focus was on the clients. But the problem is that the clients are not that interesting, because they all want the same thing. If I asked 10 clients what kind of guy they wanted, they would all say: over 6ft tall, makes more money than me, great body, strong hairline.' Things clicked when one day, years ago, she ran into an old friend from graduate school at a fancy gala dinner for theatre donors. She was there as one of the rising playwrights that wealthy patrons could rub shoulders with; he, once a very promising acting student, was there as a server. When she went over to greet and hug her friend, she sensed that they were both embarrassed. It was as if they were breaking an invisible barrier – like Rose going below deck to fraternise with Jack in Titanic. 'How Victorian is that?' she says. 'But it's 2017!' Sign up to Inside Saturday The only way to get a look behind the scenes of the Saturday magazine. Sign up to get the inside story from our top writers as well as all the must-read articles and columns, delivered to your inbox every weekend. after newsletter promotion She realised that the movie she was trying to make was about class, which is what all the great romances are really about, anyway. Early in Materialists, when Lucy meets Harry at a fancy wedding she's helped facilitate, John interrupts them – he's there as a waiter. It's our first indication that Lucy is an impostor in the world of wealth that she's insinuated herself into so elegantly and seamlessly. The cold calculus with which she surveys people as dating prospects hits something of an iceberg whenever she's with John: love, as always, gets in the way of logic. Lucy eventually undergoes a reckoning in Materialists, but Song doesn't judge her protagonist too harshly. She has deep empathy for women like her, who trust in logic to rescue them. She brings up the 'tradwife' trend taking over social media, where women embrace traditional gender roles and domesticity, as a symptom of a crisis beneath the surface. 'I think it has so much to do with how deeply broken our economic systems are, especially in the US. As we have learned, the American dream is not achievable. You cannot jump your class. But what's one of the few ways that you can still jump your class? Well, marriage.' If there is an element of escapist fantasy to the film, it's that the protagonists, all deeply insecure in their own ways about their desirability, are played by three of the most beautiful people in the world. To have Pedro Pascal and Chris Evans vying for your hand is an embarrassment of riches, and Song admits that even casting Dakota Johnson as Lucy – a woman who believes there's nothing special about her – was a bit of a 'fantasy trick'. 'But the thing is, it wasn't a stretch for my actors to play these roles; they got it better than me. Who feels more like merchandise than the guy who plays the Mandalorian or Captain America?' For all its hard-nosed cynicism, Materialists is even more sentimental of a romance than Past Lives; its declarations about romance are all the sweeter for the superficial, number-crunching conventions they resist. Even so, making a star-studded romantic comedy after the critical success of Past Lives is a bold move. The genre is more or less dead today, or relegated to Christmas specials on streaming services. Even A24, which distributed the movie in the US, seemed to be self-conscious about releasing a romcom: the company published a 'syllabus' for Materialists, a list of Song's reference films, replete with highbrow names such as Thomas Vinterberg and Mike Leigh, as well as Merchant Ivory productions and Martin Scorsese's The Age of Innocence. But Song herself is unselfconscious about her love for romances. 'I still remember showing Past Lives at this festival in Ireland,' she says. 'This one really burly Irish guy was asking me a question during the Q&A. And he started crying, telling me the story of his own childhood sweetheart. And I remember thinking: it's funny that when it comes to the matters of love, we relegate it to the girlies. But the truth is that everybody's just actually starved of love and affection. I knew, when I was making Materialists, that there is a very real market for it.' She embraces the idea that Materialists might spark more conversations about love and romance. 'It is so romantic that I get to invite the audience to the movie theatre for two hours to do nothing but talk about love and dating and relationships and marriage.' But then again, there's always the matter of money. 'We get to be so real! I get to say things like $12m [apartment]! You know, the most reliable, audible response in every screening I've been in is the moment when Harry says '$12m'.' Materialists is in UK cinemas from 13 August.


The Sun
an hour ago
- The Sun
Star of hit 70s TV show looks very different as she makes rare appearance – can you tell who it is?
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The Sun
an hour ago
- The Sun
Brooklyn Beckham and Nicola Peltz renew wedding vows after three years of marriage amid family feud
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